Adapting Henry James to the Screen: Gender, Fiction, and FilmScarecrow Press, 2007 - 297 "This book shows how changing priorities affected the ways in which James's novels were translated to the screen and how gender relations were addressed. Raw discusses most of the major adaptations, beginning with Berkeley Square (1933) and culminating with James Ivory's The Golden Bowl (2000). This book also offers new readings of well-known adaptations and considers works that have been critically neglected, such as The Lost Moment (1947), The House in the Square (1951), The Haunting of Hell House (1999), and the four television versions of The Turn of the Screw produced between 1974 and 1999. Adapting Henry James to the Screen is the most comprehensive survey published on James's work on film and television."--Jacket. |
Z wnętrza książki
Wyniki 1 - 3 z 62
Strona 208
... camera . Newman enters from the right , turns away from the camera , and places her cloak round her shoulders . Nothing can be seen of her except the back of her head . It is not surprising that she should resist this attempt to ...
... camera . Newman enters from the right , turns away from the camera , and places her cloak round her shoulders . Nothing can be seen of her except the back of her head . It is not surprising that she should resist this attempt to ...
Strona 209
... camera . Another character sharing this apparently insatiable desire for more women is the Marquis de Cintré ( Philip O'Sullivan ) , who stares at the camera while insist- ing to Madame de Bellegarde that he will marry Claire " as she ...
... camera . Another character sharing this apparently insatiable desire for more women is the Marquis de Cintré ( Philip O'Sullivan ) , who stares at the camera while insist- ing to Madame de Bellegarde that he will marry Claire " as she ...
Strona 222
... camera observes her from the top of the stairs as she rushes to the front door , closely followed by Aunt Penniman . In another scene , the older Catherine throws the window open and leans out , letting her long blonde hair blow in the ...
... camera observes her from the top of the stairs as she rushes to the front door , closely followed by Aunt Penniman . In another scene , the older Catherine throws the window open and leans out , letting her long blonde hair blow in the ...
Spis treści
Chapter 2 | 30 |
The Heiress 1949 | 39 |
Ill Never Forget You 1951 | 51 |
Prawa autorskie | |
Nie pokazano 21 innych sekcji
Inne wydania - Wyświetl wszystko
Kluczowe wyrazy i wyrażenia
American Amini Aspern Papers audience Berkeley Square Bogdanovich's Bostonians Brydon camera Campion Catherine Cellan Jones's characters Charlotte Cinema classic Clear Day close-up costumes critical culture Cynthia Daisy Miller Densher director dominant Eleanor emphasized fantasy female feminine feminism feminist film's filmgoers Flora focusing Freudstein gender ghosts Golden Bowl governess governess's Harmondsworth Haunting of Hell Heiress Helen Henry James Henry James Goes Hollywood horror films Hossein Amini Innocents Isabel Ivory Ivory's James adaptations James Ivory James's novel Jane Jolly Corner Lady London looking Lost Moment Madeleine Potter male marriage masculine Merchant-Ivory Miles Milly Milly's Miss Giddens Miss Jessel Movies narrative Nightcomers novella observes Osmond patriarchal Penguin Books play Portrait production Quint role scene screen Screenplay Screw sense sequence sexual shot social Softley Softley's someone soundtrack Standish story suggests Susan Susan Hayward television Tina tion Turn University Press viewers Washington Square Wings Winterbourne woman women York